His schedule is full: four bands, the school jazz band, even Advanced Percussion, the highest curricular percussion class in the school. His abilities are seemingly endless: swing grooves to funky beats and sometimes even a few guitar chords. His charisma is genuine–not a day goes by without him spreading a smile or a laugh with his section and other people he encounters in the hallway. Amid all of this, he is also a student.

Sophomore Luke Gerskovich is the true definition of a musician. He does everything with heart and dedication. “I primarily play the drums,” he told me when we sat down in the band room for an interview. “I also play different styles of drums,” he added, referring to his performances featuring rock, funk and jazz. Gerskovich began playing the drums in third grade “for a not very inspirational reason.” “I started because I enjoyed playing Beatles rock,” he explained, smiling. “I got inspired by that.” Luke told me that he has two drum sets: an electric and an acoustic. “I mostly use the acoustic,” he remarked. He occasionally uses the electric set for recording himself, and also to experiment with different sounds.

Gerskovich is also a guitar player–a rare lefty guitarist. “It’s difficult [to] find new guitars,” he told me. “A lot of lefties learn as righties.” Despite this, Luke learned as a lefty, which basically means he plays the guitar flipped opposite compared to righty players. “I started playing guitar in fifth grade,” he shared. “I took a break for a while until the end of freshman year where I picked it back up again… I started taking lessons again.” Gerskovich shared his guitar skills in this year’s talent show pit band, where he contributed a variety of styles to the ensemble. “I don’t take drum lessons right now,” he shared, to my surprise. “Only guitar.” Personally knowing Luke from band and other events, his ability to keep time and contribute style is phenomenal, and to top it off, they are skills learned all by himself.

When asked why he began to involve himself in music, his response was simple: “I always enjoyed music; I always loved listening to music, and I’ve always wanted to make my own music through instruments that I find interesting.” His musical influences include a wide range of drummers and musicians. His drummer role models include John Bonham, Mitch Mitchell and “pioneer drummers” such as Buddy Rich and Joe Jones.

The list of Gerskovich’s musical ensembles is truly impressive and diverse. “The main bands that I’m in right now [include] j.o.e. (a rock/funk band with Gabby Moore, Graham Breidenbach, Rafa Swerdlin, Keenan Jajeh and Ryan McFadden), Elysium (a rock group with JT Kirages, Adam Clayton and Jack Lavanway) and School of Rock,” Luke explained. The School of Rock is an organization that organizes concerts for its students that focus on a certain artist or style of music. “One show that I’d be in would be a Led Zeppelin show where we play all Led Zeppelin songs,” Gerskovich shared. Somehow, Luke also found the time to be a valuable member of the LFHS Jazz Band. He also has helped out my band, The Swing Sonatas when our regular drummer has been unavailable or sick.

If he had to pick a favorite, it would be j.o.e. “We’re a very tight group, and we all enjoy the same kind of music and we have a bond,” Luke remarked. “[This bond] helps us with our stage presence or how we organize songs for the set lists.”

When asked what he has learned from his musical involvement, Luke shared multiple lessons that music has taught him. “I’ve learned a lot of general music knowledge, like dynamics and music theory,” he shared. “I’ve also learned a lot of etiquette for practicing or learning music, especially during a band practice… also [how to be] responsible with your commitments and practicing.” The social aspect of music has also benefited Gerskovich: “I’ve gotten to know a lot of good people through music and through my ability to play drums, especially during talent show,” shared the drummer, who was a part of four acts in this year’s show.

“I had a lot of fun [with this year’s] talent show,” Luke remarked. “I was in talent show this year, and I was in two acts, but I was in four acts this year, which was a little chaotic at times.” “But you pulled it off,” I added. “I pulled it off,” he agreed with a smile.

The future for Luke is likely to contain music in some way. “I don’t know if I would major in it, but I would definitely try to talk to some people and find some people to start something with,” he told me. “I don’t want to let go of the whole [band] thing.”

So what advice would a musician like Luke give to someone considering starting their own ensemble? “Stay committed to it,” he shared. “Every band starts out pretty bad, or pretty dysfunctional, but I’d say just don’t give up.”

Don’t give up. Sage advice for anyone, but unique advice when it comes to music. I can tell you personally that Luke is right; starting your own ensemble is intimidating and extremely difficult. You have to balance the social aspect of the group along with the ability to play the music that you want to.

Luke has charisma and dedication, something that is only found in the most dedicated of musicians in our world. His enthusiasm for the art form has benefited not only his life, but the lives of the people that he works with. He’s found something that he loves, and it definitely loves him back. Keep an eye out for one of his many performances; his dedicated stylings are definitely not ones you want to miss.

The concept for this video was theorized by Sean Trkla and produced by Nick Wnuk.

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Sean Trkla sits down with LFHS alumni Jordan Wesel (2016) and Austin McGreevy (2017) to talk about all things music, SoundCloud popularity, inspiration, and new releases. Currently, Wesel attends the New York University of while McGreevy attends the University of Miami in Coral Gables, Florida.

Follow these artists on SoundCloud and Instagram to stay up to date with their new releases:

Austin McGreevy: Instagram–@Austin.McGreevy, SoundCloud: Cayman

Jordan Wesel: Instagram–@JordanWesel, SoundCloud: Jordan Wesel

Be sure to sample on of Jordan and Austin’s their collaborations, “Old Friend”, and be on the lookout for new releases coming soon.

Be sure to follow @theforestscout on Spotify for curated playlists by the authors.

“Everybody should be able to enjoy their life, because you only live once. So I just want to get it all out there and be the best role model that I can be. If people want to put me in that kind of predicament. I mean, I didn’t ask to be a role model because I’m not perfect.” – A$AP Rocky

This column is going to continue to take a look at the “before” part of our everyday music stars and how the spotlight changed their lives for either better or worse. Today’s “Behind the Star” artist preview is on the rap superstar A$AP Rocky, specifically looking at his early childhood and his journey as an artist so far.

Growing up for A$AP wasn’t as easy as you would imagine; he grew up in the crime-infested neighborhoods of Harlem in NYC and his childhood featured a number of hardships that helped shape the artist into who he is today. He got himself caught up in street activities such as theft and gang affiliations as a youth which made schooling and his home life even more difficult. At the young age of 12, Rocky witnessed his father being arrested and jailed for possession and distribution. The following year his brother was shot and killed a few blocks from their apartment.

After these unfortunate tragedies, Rocky and his single mother spent a good chunk of their time camping out at shelters, going in and out, and looking for a new home. During this time Rocky was introduced to rap music, and from there he saw his opportunity to express his opinion and feelings, an opportunity that he never really felt while growing up. At the age of eight years old, he began rapping, starting from simple radio beats that he would hear in the shelters.

With his father and brother out of the picture, it only left his mother and him. He started experimenting with different rhymes and beats for the next couple of years, but never started taking his career seriously until his late teens. He grew up listening to a steady diet of UGK, Devin the Dude, the Diplomats, Bone Thugs-N-Harmony, and among many other inspiring artists during this time.

One of the many qualities that sets A$AP apart from other artists when his career started taking off was his assembly of friends who made up his crew; artists who shared the same creativity long before their major record deal. Rocky, being a member of A$AP Mob, made him and his crew a self-sustained money pot. This seemingly small move increased his brand’s desirability at the bidding table, and therefore Sony saw a future saving possibility. The crews three main producers, Clams Casino, A$AP Ty Beats, and spaceGhostPurrp, are mostly responsible for cultivating and continuing to form A$AP’s smooth vibe.

After the long hard work and dedication, two new fresh singles were dropped for his opening debut. “Peso” and “Purple Swag” were the first released, and from there on A$AP’s career took off. In October 2011, Rocky accepted a $3 million dollar contract ($1.7 million for his solo releases and $1.3 million to help fund A$AP Worldwide) from Sony Subsidiary Solo Grounds, which is distributed by RCA Records. His first release with the new singled record label was his six song EP entitled Deep Purple, where it he continued to exemplify his new Harlem flow that he was ascending in the rap community.

For anyone who is into music, most likely you are familiar with the name Austin McGreevy. If not, you should be.

Austin McGreevy, now well-known by his new artist name “Cayman” on SoundCloud, graduated Lake Forest High School last year and is now attending University of Miami in Coral Gables, Florida where he is minoring in Music Business. McGreevy started working with music at a young age. From taking up classical piano as a little kid to starting to play the guitar in second grade, it didn’t take long until he started writing his own songs and singing to the sound of his own guitar.

McGreevy has been playing professionally for the past couple of years while simultaneously participating in the high school talent show for the previous four years. In addition, he has taught guitar lessons and interned at Darwin Records with a successful local musician by the name of Suede Stout.

Last year, McGreevy began making his music more public and accessible by posting songs that he worked on closely with Jordan Wesel (Lake Forest High School, ’16) to his Cayman handle on SoundCloud.

McGreevy never posts anything without getting feedback from Wesel. Wesel, who attends New York University in Manhattan, has an amazing ear and natural knack for music. The two, who are both well-versed musically and equally passionate about what they do, were only bound to collaborate on some bumping hip-hop songs together.

“Why Not” is a hip-hop song sung by McGreevy and produced by Wesel. This song begins with a smooth beat, soon followed and intertwined with the main catchy, original beat of the song. The introduction being so smooth is followed by a more rhythmic beat sets a good tone for the rest of the song, drawing you in.

The overall beat of the entire song sounds very professional and polished. When listening to this song, most likely you will either want to tap your foot or move your head to the beat because how well-crafted the background music is.

McGreevy’s vocals are very distinctive compared to other artists, which ultimately plays in his favor. His voice does not sound like, or blend with, the generic or mainstream hip-hop artist sound, but is authentically McGreevy’s own sound.

The lyrics in and of themselves are not overly complex, focusing in on a summer night filled with possibilities. While the song has a summer-y vibe to it, you can listen to it anytime and enjoy it just as much as you would in the summer. The chorus itself is very catchy and has a subtle Caribbean feel to it, accompanied of course by McGreevy’s sleek vocals.

The song ends with a bang. McGreevy’s pitch range varies more as the song comes to a close by being more staccato and passionate. The ending vocals are just as impressive as McGreevy’s sound throughout the whole song, ultimately making you search for the repeat button.

Overall, the song has great recording quality that highlight McGreevy’s powerful vocals and is only enhanced by the unique background music. McGreevy and Wesel are a force to be reckoned with. This is proven by the not surprising 21,000 plays and counting the song has received on SoundCloud.

New and Upcoming:

McGreevy is constantly working on and posting new tracks whenever he can. Just last month he posted “Another One,” which has a more laid back sound to it, opposed to “Why Not,” but is equally as likable.

If you want to hear more music by the talented artist, you will not regret also giving his new song, “Africa,” a listen. The song itself is short and has a Blonde-era Frank Ocean vibe to it that is hard to replicate.

Make sure to keep an eye out for an upcoming song by both McGreevy and Wesel. If it is anything like “Why Not,” which it most certainly will be, it is destined to be a hit. The title of the upcoming song will be released by either artist soon and you will not want to be the one to miss out.

“Hey Angel. Reminder to meet in the front hallway at 8:20 tomorrow morning for your freestyle,” read my direct message to the freshman rapper the day before we were set to film.

He responded immediately with an assuring but matter of fact “aight.”

Fast forward 18 hours or so and you had producer Quinn Dailey and myself standing in an empty front hallway. The time: 8:32 AM.

Naturally, we were getting antsy and, quite honestly, a little pissed off. “Do you think he’s gonna show?” Quinn groggily asked me. Before I could even answer, we saw a flock students walking down the hall. “What’s up, man!” screamed an excited, unrecognized voice still a couple of hundred of feet away.

It was Angel, rolling up with what appeared to be his ‘posse.’

“Sorry man. I’d show up on time but that’s just not me. I’m fashionably late,” said the still unofficially introduced freshman. My first in-person occurrence perfectly encapsulates Angel V’s persona; a supremely confident kid who doesn’t care what you, or anyone else for that matter, thinks about him.

Angel’s confidence is his forte and, as he would like it, is the first thing that you notice when listening to his music. When prompted as to where the uptempo artist found the uncanny self-assurance that is displayed prominently in his recently released song, “Thought I Fell In Love,” which is openly dedicated to a girl in his class whom he had a crush on, Angel laughed, explaining that it was nothing compared to his previous work. He put out an entire album this past year about his lovelife entitled Summer Infinity,with enticing tracks including “With You” and “Dream Lover.”

“Too many people fear rejection and failure, and I honestly don’t care,” the valiant underclassman explained. “I am what I am and people will like it or love it.” It’s pretty rare for any high school student, let alone a freshman, to feel this sanguine about how they compose themself, which makes it even more impressive that Vaca is only one year removed from his middle school heydey.

Speaking from experience, your first year of high school is the most uncomfortable. Everyone is either trying to mix in with a crowd of carbon copies or–even more lamentably–picking on the kids that are bold enough to leave the crowd and do their own thing.

Angel is, without a doubt, outside of the norm. In fact, he hates the norm. “Forget being normal. If being super confident is gonna make me stand out, I’m gonna stand out,” added the strong-willed, spirited artist. When you are a freshmen in high school, you think you know what’s cool. Keep your head down, wear what everyone else does, and don’t do anything the guy next to you wouldn’t. Well, freshmen in highschool, as they will soon find out, are often times wrong.

Merely fitting in isn’t cool; unmitigated confidence is cool.

This profile is more than just some free publicity for a local artist. This is a highlight on an extremely talented young man who dares to be different. And in a community where everybody is often trying their damndest to be the same, I think that deserves some recognition.

Talk about confidence in his music. Freshman will give him a hard time, but freshmen don’t know what’s cool.

Confidence is cool.

Check out more of Angel V’s music by following his SoundCloud. Also, more of his personality and inspiration is revealed in the extended interview below. Warning: this music’s lyrical content contains explicit language that is in no way supported by The Forest Scout newspaper.

Extended Interview:

How long have you been rapping?

“I’ve been interested in writing poems and rhymes my whole life, but I really started going in and taking rap seriously around the time I was 11 and now I’m taking action and actually achieving goals.”

What inspires you to make your songs? What inspires your lyrics?

“As of late, designer clothes and girls from over here inspire me. I make sure I mention those two things in a lot of songs. They’re fun to rap about, but it makes me look like I’m cool and a chill artist at the same time.”

In your song “Fly ‘63” you say, “Chillin’ up town where the culture is snobby, and I’m the only rapper–that’s why they want me.” Can you elaborate on that? Do you find it easy to rap about your environment?

“Well, one thing you should know is that Lake Forest isn’t really “my environment.” I came out of Zion which could probably be the exact opposite of Lake Forest. So, in being surrounded by Lake Forest’s vibe it has really opened up my eyes to this lavish lifestyle, so yes, it is easy because now I can claim this lifestyle and rap about it all I want. And when was the last time a rapper like me came through to Lake Forest? Probably never, so I’m here building a brand and putting myself on the map as best as I can.”

Are there any genres of music you listen to in your free time other than rap?

“Of course, I’ll listen to anything if it sounds good. I look up to singers and songwriters like Mike Posner and Blackbear. Even some artists that aren’t totally famous yet, like William Bolton catch my vibe. These are all people outside of the rap game that I look to for good music.”

Who is your favorite rapper?

“G-Eazy, hands down.”

What do you do outside of music? What interests you?

“For a freshman I hang out a lot on the weekends, I won’t speak on that too much. I take interest in these nice girls that like to invite me over sometimes. That’s about it. After that I’m back in the studio.”

Have you done any collaborations with other local artists?

“Nah, but pretty soon my closest friends and I will start making bangers hopefully, also I’m Angel V so a feature will cost you.”

Where do you record your music?

“In my very own home studio that has been in the making for years and is still getting upgraded on the daily.”

What was the first concert you ever went to? Favorite concert ever?

“Wow, I need to go to concerts. I’ve only been to my own shows so my shows are my favorite concerts ever.”

In your song “Thought I Fell In Love” you dedicate a song to a girl you like, a very confident move. Where do you find this confidence in a world where everyone is trying to be normal?

“Too many people fear rejection and failure, I honestly don’t care. I am what I am and people will like it or love it. Forget being normal, if being super confident is gonna make me stand out, I’m gonna stand out.”

What is the first album you bought?

“These Things Happen by G Eazy.”

Do you make your own beats? Do you have a producer?

“Most I make, some I buy, some I steal off of the internet.”

If you could sign to any label what would it be?

“Angel V Records” I stay independent.

What are your plans for your musical future after high school?

“My musical future is now. All I know is that I’m making big moves in little time and at a young age. I know I will already be making money from my music by the end of my four years of high school. The plan is to make things happen in only two. I will go to college after high school and I will branch out to the clothing industry and,who knows, if things go well, people will have me playing in their ear buds just the way they’re wearing designer by Angel V on their backs.”

The simple, poetic genius of the Everyman of American rock and roll, Mr. Thomas Earl Petty, is undeniable. The long blonde hair, the laid back California style, the lyrics that released a certain magnetism that only Petty could construct, all fused to manifest into songs that truly felt like firsthand memoirs of American self-exploration.

For many, when considering the music of Tom Petty and the Heartbreakers, the first ten seconds of his songs come to mind. Whether it’s the outset guitar riff on “American Girl” (the one that preludes the mysterious “ch-ch”), the long, launching strum of “Free Fallin,'” or the quick, contagious drum roll interlude between chords on “Don’t Do Me Like That,” those catchy opening melodies carry the song until you get to Petty’s unmistakable voice.

From there, the lyrics and talent take over. You get a dose of simple American imagery: Ventura Boulevards and them Indiana boys on them Indiana nights. Nothing too metaphorical or complex, just picture-book scenes of a rebellious, nowhere-to-go youth in search of temporary love. You don’t have to explain the meanings or play it backwards on a record player at 11:11 to decode each song’s meaning. What you heard was what you got, and for me, that was always how I believe he intended to have it.

From the early beginnings, Petty and the Heartbreakers’ combination of Byrds-like riffs and Stones-esque swagger created a distinctly American music that was catalyzed by the past without being indebted to it. It was Dylan and Young combined without relying too much on either man’s trademark qualities. It was Petty, man. And Petty wrote the hits.

But if you listened to enough of any artist–and Petty and the Heartbreakers are no exception–there are the deep cuts, the underappreciated, only-if-you-bought-the-album tracks that fans become so territorial over. After all, there’s probably a reason why some true fans insist on going to the bathroom at concerts during the sing-a-long tracks.

As is the case with all musical legends, their full catalog of music reaches a posthumous peak in the weeks directly following their death, only to fade beneath the “most popular” tracks from that respective artist and the millions of other accessible songs and albums streaming services offer.

But in only eating the upper crust, you neglect that whole bit of purity that an artist like Tom Petty evokes. Ultimately, his songs will be covered and replayed and karaoke’d enough that you’ll eventually forget the beauty of the artist. In time, unfortunately, people will think John Mayer wrote “Free Fallin'” because he played some acoustic version in a concert at the Hollywood Bowl. That’s when the real tragedy begins. Until then, we’ll remember.

Join In Music reporter Sean Trkla for a sit down interview with LFHS musician Kyle Waggoner in his in-home studio. Kyle discusses what got him interested in music, what he’s working on now, and what he plans on doing musically after high school in a lively interview.

When I began my sophomore year here at Lake Forest High School, I began to see new faces in the Music Department. This was new for me, of course, because I had been the new kid the past year. Of all of the new freshmen, there was a pair of twins that stuck out to me the most: orchestra’s Jane and Grace Mockus. This violin and cello duo were both members of the audition-based symphony orchestra in their freshman year, and I got to know them through symphony and also pit orchestra, where Grace sat next to me every day.

When I emailed the duo about an interview, they both responded in separate emails around the same time, both saying how excited they were to talk to me. When I arrived in the orchestra room for the interview, I saw their backpacks but not the girls themselves. It was only when I checked Mr. Bassill’s office that I found the Mockus twins.

“To be honest, pretty much any free time we have, we are in the orchestra room,” Grace had written to me in an email. “3rd we are there, 5th we are there, 6th I’m there, 7th Jane is there, etc.”

So there they were in the director’s office, where he was writing them passes to get out of study hall and asking their opinion on a symphony piece. “What do you guys think of this?” he asked while pressing play on a preview from the music store’s website. After a minute, both girls nodded. “We like it,” they replied. After some more conversation with Mr. Bassill, the girls joined me in the orchestra room for an interview.

The first thing I always notice about the Mockus twins is that they are always smiling, be it in the hallways, during rehearsals or after school. They are talkative and outgoing, and I remember that we were already laughing about something when we sat down to talk.

When I asked when they started playing, both girls responded together in unison: “Fourth grade.”

“I just always wanted to play cello,” Grace shared. “My mom tried to get us both to play violin,” Jane remarked. “But we have the attention span of like small gnats,” she joked. On playing the violin, Jane’s opinion is simple: “It is really fun.”

In addition to both being exceptional players, the Mockus sisters use their musical talent to create music as a pair. “We could play, like, the Bach double together,” Jane suggested to Grace. “I’m trying to find one in bass clef, so I’m struggling through the one in treble right now,” Grace told me, laughing.

In terms of concrete accomplishments, the girls may not have many, but their talent doesn’t go unnoticed. As ambitious eighth graders, they put time into preparing for an audition for the high school’s top orchestra: symphony.

Jane and Grace started laughing when I first brought the topic up. “I played my audition, and of course I was nervous, and Mr. Bassill kinda leaned back in his chair and said ‘Do you wanna try that again?’ and he was such a nice person!” Jane remembered, reminiscing with a smile. “For my audition, I (accidentally) used a viola bow,” Grace told me. “And (he) said to me, ‘Do you want to try a cello bow?’” They both burst out laughing remembering their auditions.

What struck me about the girls was their ability to laugh at their mistakes, and not react with the usual cringe that most musicians would respond with. These imperfect auditions for them are good memories for them, regardless of the fact that they actually made the orchestra in the first place.

As for the future, Jane and Grace want to keep music in their lives. They told me they intend to play in college orchestras and ensembles beyond Lake Forest. “And the music program here at the high school is at such a higher level than the one at the middle school,” Jane told me. “And here… we get to hang out in the orchestra room all the time. It’s so much fun.”

So what keeps the Mockus twins going? “There’s such a range of stuff you can do,” Grace said. “The more stuff I listen to, the more I want to play it.” Jane added. “And there’s the people too!” they both remarked. “There’s so many great people.”

“Last year we had a cello clan,” Grace shared. “This year too, but last year there were so many people that just helped me into the program.”

“And then you have your sister too,” I added. “Yeah!” they both said at the same time, looking at each other and grinning.

There are great musicians in this world. What makes them great may be debatable, but I think it’s not just the technicalities and the robotic ability to be perfect. Great musicians can laugh at themselves, laugh at their mistakes, and laugh with other people. They are friendly, outgoing, modest and charismatic. I could include a laundry list of adjectives. But I can say for sure that in Lake Forest High School, we have great musicians. Just two of them are Jane and Grace Mockus.

To listen to a curated Spotify playlist of Young Bombs, click here. Be sure to follow @theforestscout on Spotify.

If you recently have gone to the popular summer music festival Lollapalooza in Chicago you might have heard an up-and-coming DJ group called Young Bombs. During the festival that put the lakefront of Chicago on hiatus for a four day weekend, the set played at Perry’s stage and their rise to fame has been quite a journey. Starting out from Toronto Canada, their lineup consists of Martin Kottmeier and Tristan Norton, both of whom have really shown the music world that they are serious after their static show during Lolla. Their show was a perfect concoction of uplifting music and pure madness, supplementing their already magnetic connection with the crowd on hand. The duo continuously interacted with fans to connect with as many people as possible.

Who/what interested you in getting into music?

We watched the movie Amadeus when we were children and wanted to become classically trained pianists. We both got extremely good and did piano battles against one another in Rome, Italy when we were 12. The final battle ended in a draw and we decided to switch our energy towards dance music.

During your time at school did any music departments help influence your interest in music or was it completely separate?

We were both in band in school so yes, it helped.

How did you get the opportunity to play at Lollapalooza? Did it live up to your expectations?

We’ve been grinding hard on the road this year and we think that helped us get noticed. It was one of the best festivals we’ve played so far. We still get goosebumps like Travis Scott when we think about it…or like R.L. Stine. Both those guys know a lot about goosebumps.

What is your fondest memory at any of your shows? Whether that’s a specific person, thing, event, area, song?

Probably the first time playing New City Gas in Montreal. It was our first big show opening for The Chainsmokers and to see 4,000 kids going crazy was a life changing moment.

(Alternate answer)

The time Martin kicked a CD-J off the table by accident and every time Tristan falls through the stage (happens regularly).

Now that you’re working with some very recognized artists, such as The ChainSmokers, what has been the biggest takeaway from working with those big names?

We’ve opened for The Chainsmokers many times and they literally play whatever music they feel like. That probably influenced us to broaden our horizons a bit. Now we drop random songs like “The Lion Sleeps Tonight” and old Backstreet Boys songs in our sets and people love it. It keeps it fun, ironic, and unexpected.

Are there any plans for future collaborations with other artists? If so who would you like to work with?

We’re working with a lot of singers for our upcoming originals but can’t name anyone yet. It would be insane to work with Selena Gomez because all three of us have long hair and we could braid all our hair together and make a super braid.

What’s your favorite current artist to listen to?

We just discovered this band, not sure if you’ve heard of them, but they’re called “Coldplay.” They’re really good. Super mellow and emotional. Definitely check them out.

Are there any plans for future international tours?

We really want to tour Antarctica because that region seems to get neglected time and time again. We think we could really make an impact among the penguins…

How are you standing out in the music scene right now? Whether it be by branding, interviews, shows, social media?

Maybe this interview is indicative of that?

How does the remix process for one of your songs begin? Do your personalities ever play a role in how the song comes out?

There really isn’t much of a set process on how we approach making music. Every song evokes a different feeling or expression and we try and work around that to give it it’s own unique new form. Sometimes to get in the right head space we’ll rochambeau for a few rounds. Other times coffee does the trick.

How has coming out of Canada affected your rise in the electronic music scene?

Besides the fact that there isn’t any AC power outlets in our igloos it’s been great. It rains a lot, so it makes it easier to sit inside and work without feeling you are missing out on too much. There also isn’t an overwhelming amount of producers in our city (that we know personally) doing the same thing as us so it makes it feel like anything is possible. And the ones we do know and are good buddies with have been extremely supportive.

Do you see yourselves as one single artist or as two individual artists collaborating?

We’ve been making music together for years now throughout a few different projects so it’s like we’ve become one unified brain when it comes to making music if that makes sense.

Lastly, if there’s anything you would like to expand on, go ahead. Any shout outs for upcoming tours, shows, song releases, events?

We have some exciting shows coming up that we are super stoked to play including: Marquee NY on August 18th with our good friends The Him (seriously the nicest guys!) followed by the Billboard Hot 100 Fest the next day (19th). Then we play in Puerto Rico for the first time at the Medalla Light Yellow Block Fest on the 24th! Super stoked on that as we love exploring new cities and cultures. From there, we play Atlanta at the Gold Room on the 26th and Vegas back at Drais Beachclub on Sept 2nd!

Musically speaking, we have a couple remixes coming out soon! So stay tuned for those, and hopefully dropping our first originals very soon as well.

Follow @TheForestScout on Spotify for all of the In Music department’s curated playlists. To listen to Mr. Scott’s Tallest Man on Earth playlist in full, click on the embedded link below.

Like many of you will experience in the coming years, my first roommate in college challenged my musical preconceptions and grew my palette. Again, like many of you, I was under the misguided presumption that hip-hop was unequivocally the coolest form of popular music and that Ludacris building rhyming imagery about a night’s stay at the Holiday Inn (referred to in the song as the “Holidae Inn”) in which he didn’t sleep was the apex of musical genius.

Then, however, I signed a lease with 3 friends at 218 West Ave. in LaCrosse, WI for the 2009-10 school year. Not only would I learn how to run a dishwasher effectively for the first time, but I would be living with the particular type of civilized human who had a map of the world hung on his bedroom wall and casually used colloquialisms like “as the crow flies” to describe the shortest route to jaunt across campus. Naturally, he listened to a lot of indie music.

Aside from awakening my understanding to many things (hummus notwithstanding), this friend enlightened my ears to the indie folk/rock genre of music. I still believe that in twenty years the pervasive genre of the millennial generation will be hip-hop (think: Chance the Rapper, Kendrick Lamar, and others) and EDM will turn into a what-were-we-thinking punchline, akin to the way disco and the haircuts of Flock of Seagulls are remembered; but I believe indie rock will be a close second. The lasting impact of nuanced, original voices like that of Matt Berninger (The National), Colin Meloy (The Decemberists) and James Mercer (The Shins) might have a greater resonance in ten years than they do today. Sometimes that’s just how music as an art form works. You’re never appreciated fully when its most convenient for you–that’s what’s inherently indie about it.

But in the case of The Tallest Man on Earth, otherwise known as Swedish singer/songwriter Kristian Matsson, the reverberance of his music lies in our collective recollection of his voice. Although popular in some small indie circles (to which the same could be said about shampoo), Matsson has forged a reputation as a delicately thoughtful songwriter with a maverick leading voice oft compared to the transcendent Bob Dylan for its octaval range and unconventional sound. What compels me most about Matsson, though, and what has kept the music of the Tallest Man on Earth strumming along in my mind since it was first introduced to me in 2009 is how his songwriting variety defines the genre of indie rock and further expounds the art form of 21st century songwriting.

Throughout his discography, which includes the studio albums Shallow Grave, The Wild Hunt, There’s No Leaving Now, and Dark Bird is Home, Matsson channels the coalesced nature of poetic style and individualist expression that has come to personify the indie genre as a whole.

So, in turn, I walk you through some of the requisite, staple tunes of the consummate indie maestro.

The Thoughtful, Introspective Ballad

“Sometimes the blues is just a passing bird, And why can’t that always be” –“The Dreamer”

Whenever your songwriting structure and content is mentioned in the same breath as Bob Dylan, a few things come to mind. 1) You must use strange symbolic fodder for songwriting material, 2) The use of weather and the environment must be readily at play in the lyrics, and 3) There are undoubtedly some lines that simply make no sense at all. In Matsson’s introspective melody, “The Dreamer” all three of the aforementioned attributes are at play. In this song alone, Matsson references birches, birds, shadows, light, acres, and meadows, often in unique syntactical blends (i.e. “Tossing aside from your birches crown, Just enough dark to see”). Still, however, much like Dylan, the central area of discussion in the song as a whole is a woman, although she is personified in a myriad of environmental figures, ultimately rendering her “the light over me.” “The Dreamer”‘s cadence allows for you to feel the introspection in Matsson’s songwriting while his vocal inflection mixed with the distorted guitar culminate into a sense of longing and nostalgia.

Allegory Overload

“I sense a spy up in the chimney, From all the evidence I’ve burned, I guess he’ll read it in the smoke now, And soon to ashes I’ll return” –“The Gardner”

Like any literary artist, Matsson employs the literary device willingly. In one of the more popular hits from his most critically acclaimed album, The Wild Hunt, “The Gardner” showcases a young man at odds with himself and his decision making in a metaphorical garden, symbolizing both the death and re-birth of his self. Similarly, in The Tallest Man on Earth’s most recent single “Rivers,” he uses rivers to metaphorically characterize the ambiguity surrounding his own decisions (i.e. “Oh, I guess it’s true, I guess these rivers never knew.”) The artful and creative use of allegory in both instances alludes to a deeper, more poignant message to be relayed in the sub-text as we interpret the music individually based on our own orientation with the lyrics.

The Someone-Else-Somewhere-Else Kick-starter

“Well if you could reinvent my name, Well if you could redirect my day, I wanna be the King of Spain.”–“King of Spain”

As much as Matsson’s creative representations at times seem all too realistic, his conjured, fanciful imagery in his most upbeat track, “King of Spain,” demonstrate his longing for refuge and respite in a life other than his own. In true European nomadic fashion, Matsson references provoking bulls in Pamplona, as well as sojourns to Barcelona, Madrid, and the disappearance with a flamenco dancer in this imaginative mood-shifter. In fact, Matsson’s direct reference to having “stole some eagle’s wings” places this indie track in the pigeonhole of an otherworld dreamscape often employed by new-retro artists.

The Indie-Emo Love Ballad

“Love is all, from what I’ve heard, but my heart’s learned to kill” –“Love is All”

Indie love is weird. When you add a poet’s language to an already-confused milieu of emotions, strange thoughts are bound to arise. Indie love, though, is not like the love of Richard Marx, The Goo Goo Dolls, or even Adele. At the risk of sounding cliche, death (metaphorically speaking) is a central antithesis feeling associated with love and therefore finds its way into many indie love songs. The Tallest Man on Earth’s “Love is All” is no exception. The song’s crescendo comes in the chorus following Matsson’s line, “here come the tears, but like always, I let them go.” From there, an onomatopoeia of sorts is relayed in the following lines as his voice seemingly follows the rhythm of his tears. I told you, indie love is weird. That said, indie love is art. Often art seems weird until we look at it from a different angle.

The Confuser

“And now something with the dirt is just different, Since they shook the earth in 1904.” –“1904”

Every artist has one. You hear the song and can’t make any sense of the direction or sentiment infused in the lyrics. In subsequence, you look up the lyrics to see if you’ve misheard them, read them in full, and find yourself even further down a rabbit hole of confusion. It seems intentional–and it very well may be. Take a look at this excerpt from the opening verse: “But the lesson is vague and the lightning, Shows a deer with her mind on the moor, And now something with the sun is just different, Since they shook the earth in 1904.” What event is he referencing from the turn of the 20th century? How does the deer come into play? Without looking it up, what is a moor? Who knows? It would be easy for me to blame drugs here, but I’ll just blame art.

Alas, this is my favorite staple of the indie genre. We all at some time or another have the misguided perception that our hometown is smaller than it actually is. Yes, this includes Lake Forest. You’ll arrive at this notion more conclusively once you meet several people from oft forgotten states with hometowns like Independence, OH, or Alliance, GA. Still, there is a quaint romanticism that we associate with our hometown that hits poignantly once we move away. For many of you, that might be next year. Still, a song that reminds you of home–of family, friends, or even your high school–is worth something. If you don’t believe me now, play this song in four years. I know no one will actually do that, but that doesn’t make me wrong.

Throughout high school, I have seen talented musicians come and go, leaving their legacy behind through the solos they performed and the competitions they’ve won. But there is always someone who stands out from the rest grade and for Lake Forest, the one person who gives a face to the choir is Will Johnson.

It’s likely you’ve seen him singing at the varsity basketball games, in some of the acts or the pit band during the annual Talent Show, or even playing the trumpet at the pep rallies and Friday home football games. However, Will was not always known for his musical talent and interest in the school’s Music Department. His love for singing and place in the LFHS choir actually stemmed from his initial participation in band.

Since the fifth grade, Will has played the trumpet; but it wasn’t until eighth grade that he realized he had a passion for singing. He decided to split his time between choir and band to try something new. With no experience singing beforehand, Will joined choir where the students in his class were amazed by his talents and his ability to sing outshined the trumpet he played. The question of whether this would be a new focus in his life or a simple hobby crossed his mind but I can assure you, he made the right choice.

Now, as a prominent focus in his life, singing is something he can’t live without. He is always singing–in class, in competitions, in shows, everywhere. But most of us don’t seem bothered by his tunes. Besides the occasional “oh my gosh, stop singing” from his mother or the “alright, that’s enough” from his friends when he starts singing in public, we are used to the bold and strong sound of his voice and wouldn’t mind listening to it for hours on end.

His dedication and the time spent practicing has given his voice a trademark sound within all the music he performs. Its distinctively strong qualities shine through the tenor section but his operatic-styled voice does not alter his ability to sing music from all genres. This year in the talent show, he is singing music that is not as classical or operatic. He is taking part in a duet with junior Grace Forsage singing “Bridge Over Troubled Water” by Simon and Garfunkel and “Gimme Shelter” by the Rolling Stones with a separate band. While he is a part of the talent show pit band– playing acoustic versions of our favorite songs on the trumpet–singing is something he devotes much more time to and shows a particular interest in.

Will also has played roles in musicals and plays while also fulfilling a role in an extracurricular holiday choir called Madrigals. Will has been a part of the group for four years and had the honor to be a leader his senior year, sharing some of the most exciting and rewarding experiences with his fellow classmates. He was also titled the ILMEA senior division winner this year and was a part of the school’s honor choir program.

There is no doubt Will now has plenty of experience and coaching by different directors. Besides the All-State honor choir he was chosen to be a participant in, one of the most incredible experiences and tutelage he has received was last fall when he took part in an operetta, H.M.S. Pinafore, at Lake Forest College. The entire experience really shaped his singing career and gave him insight to the differences between voice parts where he sang baritone, a lower voice part than he is used to. But even with such an inspiring opportunity, the directors at the operetta had a much smaller impact on Will compared to Mr. Haskett, the choir director at LFHS.

Teaching for over 30 years and being a tenor like Will allows for him to be a great mentor and fantastic director. When Will was asked to share his experience on singing and what choir has offered him, he stated, “Being in choir and Madrigals for the past four years has allowed me to work with Mr. Haskett and create a relationship that has not only strengthened my position in choir [at LFHS] but also as a student and as a singer.” Mr. Haskett has helped shape Will as a musician and helps him sing to the best of his ability in choir, and when doing solo acts.

Having the privilege to know Will and being able to see what he is involved in musically is remarkable. Aside from his natural talent, his outgoing personality and title as a loud, never-stop-talking kind of guy is what sets his apart from others and only amplifies his musicality. If you see his dedication, passion for singing and talent you can understand why he’ll leave a mark at LFHS and leave his own legacy in choir.

Though Will only has about four months left as a student at LFHS, those who have spent time with him downstairs in the Music Dept.–including Mr. Haskett, Mr. Bassill, Mrs. Kessler, and Mr. O’Connor–will continue to hear his voice long after he graduates this summer.

Listen to American Grizzly’s album, You Gotta Spoon Feed It, below in the embedded playlist. Also, you can watch their music video for “Daddy Was a Good Man” here.

It’s funny how much you can learn about South Side’s American Grizzly through the web, considering the band would probably prefer a dusty old encyclopedia over a Google Search.

Of course — as the group would most likely agree — nothing rings truer than word of mouth. After all, I learned about Chicago’s alternative musical group from our very own editor, Mr. Austin Scott, who has friendly ties with one of the lead singers, Jack Doyle. A recommendation carries the most substance when it’s conversational; immediacy ushers in a response from the forefront of the mind that the back of it wouldn’t have carried out otherwise. American Grizzly wisely harnesses that reality to their advantage; they relied on donations from their families and friends to support the recording of their debut album, You Gotta Spoon Feed It, released last year. A catalyst needn’t be rash if it can be brought about by the people who know the power of its product — listen to the album and you’ll hear what the donors heard.

Then again, I’m no expert with just a name. To be fair, I still don’t think I knew Grizzly front to back before I asked Mr. Doyle a few questions for this article — and yet, without a quick blurb from dnainfo.com, I wouldn’t have known that as a means of enticing potential contributors for that aforementioned fundraising, the band cut a deal to play a game of pickup basketball with anybody who gave a $100 donation. The outcome?

“Although we had quite a few people donate that amount,” Jack mentions, “no one formally agreed to ball against the Grizz — lucky for them because we’re all pretty decent, especially Anthony, the drummer, who played semi-pro in Costa Rica for a Winter.”

Again, we’re whittling down to trivia here — but something still tells me that the band is defined by these commonalities, though. You see, American Grizzly likes the concept of face value. By the band’s philosophy, what you see is what you get, and more than anything, they strive to get their audience to see the right thing. Not that anyone’s arguing that their use of sturdy, vintage hardware can’t tug the same heartstrings that it did decades ago; the Chicago natives realize a popular culture that has united against the common enemy of the unwelcome future and behind the fallen hero of the forgotten past. “Where did vinyls go?” “Why doesn’t anyone record on analog anymore?” The group sees these questions and raises them one: “What’s taking everyone so long to bring the ’60s and ’70s back?”

Who says Grizzly can’t do it themselves? Although You Gotta Spoon Feed It — produced by the same studio that has worked with Alabama Shakes — preserves the unofficial retro convention of its Nashville setting, it does so gracefully and faithfully, with little room for error at hand. It’s honest music that you can breathe, and not just because it reverts back to old-school technology. Nostalgia is driven by people, and “the Grizz” has the ranks to prove it, right down to the very existence of their debut LP. The band’s name captures more than a five-piece orchestration under its umbrella — it tows in a community.

Sure enough, it made Mr. Doyle a happy camper to answer some questions I had about the band’s whereabouts so far.

You decided to record You Gotta Spoon Feed It in Nashville; what was down there that wasn’t in Chicago?

There’s so many good studios and producers in Chicago, but we were really liking a lot of records that were coming out of The Bomb Shelter studio. Billy Bennet and Andrja Tokic produced a lot of the stuff we were listening to, so Dennis sent them our demos and they invited us down for the project.

How formed were the songs, writing-wise, before you headed down to Nashville? Did you add any stuff on the fly?

The songs were well formed and we had been playing some of them for well over a year. The majority of the songs were recorded very closely to how we recorded them as demos, and others were drastically changed with input from our producers (e.g., North Dakota, Slow Down). Songs like “Daddy was a Good Man” and “Old Man on the Run” were recorded with auxiliary session musicians that we always wanted to incorporate into the final songs, and this project afforded us the opportunity to hire additional musicians to expand our sound a bit.

Did your experience in Nashville, however brief, teach you something that you could take back to Chicago with you?

We learned a lot while we were recording in Nashville. It was the first time we worked with producers and session musicians in a studio where a platinum record was recorded. The producers at The Bomb Shelter are so professional with everything they do, from both a creative perspective and just managing a recording session — it definitely opened up the possibilities of our sound. We’re recording a handful of songs at the end of this month here in Chicago, and no doubt what we learned down in Nashville will help us on our next collection of tunes.

American Grizzly really seems to take pride in their vintage sound. What aspect of that music do you want to pass on to the next generation of listeners?

Well, a lot of the allure to the “vintage sound” is its imperfections, the lack of a precise science while recording. When you have a microphone collecting sound from multiple instruments, those sources have to blend well together. With a lot of the more modern and digital recording practices, it seems to encourage more individualism, which has a place, but we like recordings that sound like there’s a group of people feeding off each other and creating something as a group. Recording in a way that was more common in the ‘50s and ‘60s, a lot of the excitement is the unexpected sound that is created. We like when the vocals sound like a person sang them and the instruments sound like a person played them. As far as the next generation — we just hope they enjoy our music.

Often times, reverting back to “the good old days of music” sounds like a respectful echo, even as unique ideas and sounds are ultimately formed. As one of the flag-bearers of this “vintage movement,” do you see yourself as a traditionalist or a progressive, as far as the music goes?

American Grizzly tries to be pretty transparent. We’re heavily influenced by music from the good ol’ days that we grew up on and still continue to discover today, but we’re also really inspired and listen to a lot of the music that is happening right now. We’re constantly enjoying local shows and seeing bands we like on tour at some of the bigger venues in Chicago. As far as being flag-bearers or anything like that, we don’t really think about that stuff. We just make music that we enjoy and it sometimes seems to sound a bit like the good ol’ days of rock n’ roll, which we like.

Your next concert is this Saturday! What are you looking forward to about it?

This will be our second show at Virgin Hotels — the first show was a lot of fun. This show should be great because we’re playing with two other local acts, Lucille Furs and Joe Bordernaro, and they’re both great.

American Grizzly will be playing at Virgin Hotels in Chicago this Saturday at 8:00 pm. More information can be found on their website. View their submission for NPR’s Tiny Desk contest here.

Nobody needs to be a rebel without a cause in order to have spunk, but you still know it when you see it. Heck, you even look for it; for as long as music is commercialized, artists will depend on their music’s presentation as much as the music itself. If only it were as simple as The Album Cover — a growing demand for concerts and social media updates mandates that musicians not only grab their fans’ attention but justify why they deserve it.

And yet, for all the defining moments within a group’s career, some casual listeners want it both ways, shoving intensity and simplicity into the same cramped boat. A hotly anticipated double album must be rushed to the presses, even when you’ll only end up picking one track for your playlist. You’ll memorize the years of release dates, even when you can’t remember when you first listened to the stuff. Yet, in the most nitpicky of packages, the measure of a band’s widespread impact could boil down to its name; it must be graceful enough off the tongue to catch on, but it must also alter how people breathe the little assortment of words that used to be unkempt lines from a dictionary.

In either respect, that’s a low bar for Jonnycatland to hurdle; no one’s thought of all those words in the same sentence together, let alone the same word. It seems they’d much rather belong in a couple of clips from a Shel Silverstein poem that Frank Zappa would paste in his scrapbook. The band probably hasn’t thought too much about what the words dictate as a phrase either.

“We have a friend named John, and he has some amazing cats,” guitarist and drummer Landon Kerouac mentions, “like, the best looking cats in the world… and then Joe [Merkle], our guitarist, was just like, Jonnycatland.”

Though a spiritual twin to Chive (whose recent and phenomenal Winnie & Rue is a fantastic example of North Shore talent), Jonnycatland isn’t exactly in the backyard of LFHS; you may only know a fifth of the group, senior Kerouac, from your classes, and even he’s from Oak Park, along with vocalist and guitarist Merkle, bassist Gina Passaro, and keyboardist Ellie Traczyk (lead vocalist Max DiFrisco hails from Elmwood Park). Despite the fact that the quintet all met playing for their district’s branch of School of Rock — a beacon for young artists looking to explore their musical knack with equals in the area — Kerouac doesn’t mind you calling the band local, even if you’re stationed all the way over in Lake Bluff or Lake Forest.

It’s probably that geographical veil that might lead you to consider them mysterious and suave, even with their wide, extroverted grins spread across their Bandcamp site. The divide isn’t that intimidating, and neither are they. There’s already something democratic about what they do together that surpasses any hometown loyalties; they’re in the studio to enjoy the music as much as the listener, and they’ll take their time on it because they know it’ll make both the process and product more enjoyable. Jonnycatland wants neither intensity or simplicity; they simply want to break down a boundary that isn’t there. What if the Sharks and the Jets exchanged mix-tapes (and not through dance battles)? Wouldn’t that take guts, not to mention humility?

If there’s something to be said about that palpable relationship built off of music, the five high schoolers prefer showing it rather than talking about it. They’ve hit one big literal and metaphorical chord as Jonnycatland, and Warm Soup, the band’s debut EP, doesn’t have a hard time convincing you so — it’s to-the-point, low stakes, and thoroughly enjoyable. Does a little bit of influence appear from The Police? The Smashing Pumpkins? Real Estate? Yes, inspirations are there (all in good taste), but JCL brings a sample of their own character to the table as well. Made in four (four!!!) hours at BobDog studios in Oak Park — the costs for the single session were covered as a reward for Jonnycatland’s first place snag at a Battle of the Bands — Warm Soup feels like it has a shareable story behind its operation, sleek, smooth, fun, and one that we’re lucky to be there for.

The gleeful admiration for that oxymoron of “carefree intimacy” doesn’t feel anywhere more apparent on Warm Soup than on its opener, “Living Clean.” After a subdued bass line, the band soon emulates both the perfectionism of Jeff Buckley and the jittery, sporadic twitches of David Byrne to pull off a rather magnetic ode to reggae. It’s accessible as much as it is inverted, like seeing a sunny day at the beach through a kaleidoscope of mist. The pacing of the track pierces through the shade, musically and textually — the song hints at its own skeptical personality, put on edge by an intrusive atmosphere too pure and rudimentary for one’s own good. In an open concept, however, the band finds a guilty pleasure in getting lost in its current; their musicianship is propped behind direction, but their personal sights are invested in wherever the flow takes them.

Still, if you’re one for reading into little nuances, Jonnycatland’s got you covered; “Warm Air for Catalina” could be an allusion to the healing connotation of the album title. The tempo is upped and polished, forming a seeming paradox with the longing its narrator emphasizes (“I want to be somewhere, some place, someday / But I’m moving too slow always”). We’d call the lyrics derived — Merkle’s only turn at the lead vocals on Warm Soup is a channeled one, having written “Catalina” for his girlfriend all the way in Argentina (that’s across two different hemispheres, folks).

It’s a promising relationship, but one that, for obvious reasons, the listener can imagine to be difficult. Merkle doesn’t doubt it, nor does he abuse those emotions to fold a half-baked sob note; though each verse is built on not much more than a sparse four chords, the vocal deliveries successfully recall a confident dual romanticism, overlapping between a classical era and a modern one. “Overhead” seems like the continuation and release for “Catalina,” slowly blossoming into an appealing percussive splurge in the track’s production phase.

Warm Soup almost has too much momentum for it to close with “Perfect Time” (some strong irony there). Such are the fickle complications with EPs. Jonnycatland, however, has the instinct to anticipate the limitations of its recording, decelerating from “Overhead” to a soft, breezy bounce. DiFrisco speaks of “navigating empty sounds” — one would assume those to be of leisure rather than of indifference, but our navigator again feels as though his shortcomings are catching up to him (“Warm soup is all I need / think about it every time I speak”).

It’s curious, seeing that Jonnycatlandseems to evoke more summer than winter. From a first impression, the group’s EP is bright but realistic, poppy but not overdone. Not to make it sound like the band has an agenda (they hardly seem to have one), but Warm Soup is simply likable bait. These four songs are communal in a lot of different ways; whether they offer an independent or festive listen, they provide just another valuable document to both the splendor of youth and the brink of its coming of age, simultaneously innocent and maturing. Even if the members of Jonnycatland are still looking for what makes them tick, they’ve proven that they’re willing to live up to the name — and we’re sure that we’ll watch them do it.

With 2017 upon us, the influx of new fashion trends, Netflix releases, and celebrities is quite overwhelming. One of the hardest trends to keep up with is music, which is an even harder one to predict. To get ahead, I have scoured the internet for some of my favorite artists, and I am ready to share with you who will make 2017 a year of great music.

Bishop Briggs– Briggs is an up and coming artist whose music has been inspired by her own experiences. Born Sarah McLaughlin, Briggs’ stage name was derived from her parents hometown of Bishopbriggs, Scotland. As a child, Briggs grew up in Asia, living in both Tokyo and Hong Kong until the age of 18, and her music career blossomed through karaoke nights in the cities. Now a resident of Los Angeles, her eclectic sound is similar to BØRNS, but with an edgier tone. Bishop has recently produced two hit singles, “Wild Horse,” and “River.” Each song is heavy with emotion, and she sings with a passion I haven’t heard in a long time. We can expect her to release a new album in the upcoming year after her two singles.

Francis and the Lights– Even though Francis Farewell Starlite and his band have been producing music together since 2007, they have recently picked up a larger fan base by teaming up with Lin-Manuel Miranda on his new album, The Hamilton Mixtape. The band covered a popular song from Lin’s hit musical, “Dear Theodosia,” along with Chance the Rapper. Starlite also had Bon Iver sing on his most recent album, “Farewell, Starlite!,” where the duo sang “Friends,” which has been the most popular song from the album. Francis is also an accomplished songwriter, who has written and produced for many popular albums, such as Coloring Book by Chance the Rapper, and Thank You Later by Drake.While I do not predict that Starlite will release another album this year, I hope to see his newest album gain popularity, along with more collaborations between the band and other successful artists.

Maggie Rogers– Rogers is an NYU music student who recently went viral on YouTube singing her original song, “Alaska,” to Pharrell WIlliams. Her hit song was third on the Billboard emerging artists chart over the summer and has over 20 million streams on Spotify. Rogers’ sound is deeply rooted in folk, but she grew to love dance music on her exchange trip to France. One of my favorite songs by this successful artist is “Dog Years,” a sequel that validates Maggie as more than a one-hit wonder. Most recently, Rogers released her new single on the 13th, “On + Off,” which juxtaposes her two previous releases. It is definitely more of a dance song, but it helps Rogers depict herself as a musician who can work with many different styles of music. The rest of her EP is scheduled to release on February 17th.

Sampha– The UK native is a talented musician whose hit, “Blood on Me,” has had over three million Spotify streams. His anthem is hard-hitting, unlike some of his other masterpieces, such as “(No One Knows Me) Like the Piano,” an emotional ballad about the influence of the piano on his childhood. The keys are the star of the song, and they play a beautiful melody that compliments Sampha’s soulful lyrics. In an interview with Entertainment Weekly, he reflects on his upcoming album, saying, “I have all these insecurities… But I listened to [the record again] and realized that feeling of anxiety and self-deprecation is the feeling I’m expressing in my music. I empathized with myself.” His lyrics help him sing what he can’t speak, and that is what makes his music even more beautiful. Sampha’s new album, Process, will be out February 3rd, and he will be begin his tour in Chicago on the 6th.

James Vincent McMorrow– When I think of McMorrow, I immediately think of the visuals. As a synesthete (someone who can see music in color), his music comes in many colors, shades, and movements. In his latest album, We Move, the cover even has the five shades that I think most connect to the album. I see the first three shades in “Get Low,” a song with introspective lyrics that pair well with the steady beat underneath it. I also see those last two colors in “Killer Whales,” a piece about exploring your own self-doubt and insecurities. McMorrow has been producing music since 2011, but his recent album has raised the bar in regard to his ability to go outside of the box and create his own personal sound. Along with his newest album, the Dublin-native can also be seen on Kygo’s latest album, Cloud Nine, singing “I’m in Love to the DJ’s track.” The song was definitely different for Kygo, veering away from his usual house genre and more towards indie-pop. Overall, McMorrow has what it takes to be a great musician this year, and I hope you give his music a try.

Be sure to follow @theforestscout on Spotify for all of the curated playlists from our In Music department.

Freestyling is a lost art these days as rap is currently pushed into people’s ears because of the beats as opposed to the emotion infused in every lyric. Nowadays, when you ask a rapper to “go off the top” or, in simpler terms, “freestyle” a rap from scratch they will often turn down the opportunity. Although the art is fading, inside the walls of Lake Forest High School freestyling is very much alive. You can find some students that have mastered the art of freestyling over an instrumental or simply going acapella in all free areas of the school.

On a block day, if you make a trip up to the junior Study Hall otherwise known as the upper commons, you can find some of the students sitting at a table together with a phone in the middle of all of them. That phone generally has an instrumental playing on it–and if you are lucky enough–you will catch these young men freestyling about obscure topics, or relatable, everyday topics in their budding lyrics. Without further ado, here’s my list of some of the top freestylers in the school.

#1 Terk Klavsons

Terk Klavsons is a senior at Lake Forest. Terk is well known around the school for his ability to freestyle, especially in front of big crowds as he did in the Commons with a DJ earlier in the year. During the days when the school brings in outside musical assistance, Terk asks for a beat to freestyle over. So far it has only been an occurrence that has happened twice, but if those DJ’s come back, expect to walk through the commons with your ears drawn to a kid whose style is dad-like, but also uniquely original. Terk has also been featured on our The Forest Scout’s own “The Weekly Churn” with Ross Adelman and Ethan Madura. Terk takes pride in this passion of his and he got serious about this art last year. He always felt inclined to do it, but last year he started writing bars and going off the top with friends. You can catch Terk and some boys freestyling in the commons just about everyday

#2 Austin McGreevy

Austin Mcgreevy, another senior at the high school, is up for whatever. What I mean by that is this kid’s musical talent and interest range from rock to rap and everywhere in between. Austin is known for his singing and playing of the guitar, which he will showcase at the Talent Show later this semester. He was in a very popular band among the students at the high school called, The Otters. Austin isn’t exactly well known for ability to go off the top, but when you hear him you will be mesmerized by his ability to take obscure topics or words and go off on tangents about them. It started out innocently, listening to the music and digesting what rap had to offer. Then came him making verses in his car. Eventually, Austin was ready to show off his ability to freestyle. His favorite rapper is Kanye West, an iconic rapper on the scene. Just like Austin, who is iconic in his own right around the hallways of LFHS.

#3 Ryan Durburg

“Durbs,” as he is affectionately referred to as, is a junior at Lake Forest High School. Ryan is a member of the football team, but is most known for his witty and out there jokes. He is not prevalent on the scene yet for his freestyling ability–except to those who have taken to his uniquely unorthodox style of rapping. Ryan has a very different sound and is very vocal about what he is thinking. At times, Ryan’s verbiage and content might sound off-topic and downright strange, but he makes it all flow into his own personal style. Ryan’s brother, Jake, was a member of “The Otters” along with Austin McGreevy and was well-known for his musical talents around the school. We can see that he is very inclined to music and has a true talent. His favorite rapper is actually more than just one solo act, a group that goes by Jurassic 5, a classic rap group that was very popular through the early phase of the 21st century. Ryan started rapping his sophomore year during Spring Break when him and some of his boys found this art a fun and enjoyable way to pass time.

#4 Ryan Lee

Lee, a junior at Lake Forest High School, is a member of the baseball teamand a big threat on the intramural courts on Sundays. When he’s not displaying his athletic ability, though, he is most likely hanging out with his friends. With his friends, he is most likely freestyling or listening to rap music casually. Ryan is not very vocal about his ability to freestyle, but his friends sure are. They praise his talents, sometimes calling him “the best rapper in the school.” Ryan started rapping freshman year and from there, he found one of his greatest passions. Lee’s favorite instrumental to rap over is “Nuthin But A G Thang” a song by Dr. Dre featuring Snoop Dogg.

Be sure to follow @theforestscout on Spotify for all of the curated playlist’s from our In Music department. Listen to Tommy Block’s Wilco Beginner’s Guide playlist here.

Uncle Tupelo — the indie musical trio from the nowhere town of Belleville, Illinois — called it quits before their records became revered as cult classics. To some, they were the Beatles of the late 80’s and early 90’s — to others, they stray no farther in the mind than a Wikipedia page with useless bits of guitar trivia. They were the kind of group that you would find on your dad’s MP3 player, with a discography like the hybrid playlist of a coffee shop and a Western saloon.

If the members of Tupelo, already a mutt of the disintegrated groups The Plebes and the Primitives, had chemistry, it was strictly in front of the microphone. Following an explosive split, two of the band’s veterans, guitarist Jay Farrar and drummer Mike Heidorn, looked to use their newfound musical freedom in hopes of rising above the artistic underground and formed Son Volt, similarly of the country-twinged genre. That left occasional lead singer Jeff Tweedy, who had begun to establish his own individuality through Tupelo, and the remaining members of the now fractured group to pursue their own career, striving for something of their own.

Through the time (over 20 years and counting) that these musicians would spend together as a collective body, the concept of that “something” would evolve past the meager boundaries of a modest side group. It was only with time that this “something” would come to be unique, something emotionally sensitive (and vaguely introspective as well), something loyal to their experiences outside of stardom (they were never a band to indulge in fame anyway) and, above all, something special.

It’s an understatement, however, to say that Wilco is simply “something.”

In anticipation of the group’s upcoming four-night run at the Chicago Theatre late this February, certain dimensions of the band’s history may rise back to the surface as locals attempt to jog their memory of Wilco’s accomplishments. To the unconvinced listener, this might not necessarily be a good thing; when you’ve been together for as long as Wilco has, you’re bound to catch some flack in the process, and believe it or not, not everybody will show their undying love for the self-proclaimed Windy City natives. Among their harshest critics (which are allocated to even the greatest of bands), they’ve been reduced to “dad-rock,” flat and unsurprising. Perhaps it’s true that they haven’t always wavered too drastically from the comfort of their acquainted musical abode in the span of their ten studio albums. Personally, I’d like to think that there’s a difference between sticking to a voice in fear of moving on from it and sticking to a voice because it works.

Of course I love Wilco. I would have to in order to make this article sound somewhat credible. Although, any artist is inherently more interesting under a microscope, and despite having possessed my prerequisite knowledge of the group in advance, I’ve been listening to the band more frequently in order to write in length about them. Yet, I don’t believe I’ve let them connect with me as if I were a frantic student cramming in notes from a lecture; whether through my fault or theirs, Wilco has been introduced to me as a patient friend through unrushed, leisurely conversation. There is poetry in their track titles alone. They make familiarity in their songs sound like a gift. For them, a guitar is a typewriter, not a tool.

And yes — so be it — I like their “dad-rock.”

By this, I don’t imply that I embrace their “unimpressive nature,” mainly because I don’t see what those two or three people who don’t like Wilco mean by it. You can’t find the soul of the band in a brief tune played over the radio — you will find it in their continuity. They continue to do what they do because it enlivens them to a meditative degree of peace, and — to my pleasure, along with many others’ — you can always expect, and look forward to, another Wilco album.

Below is an abbreviated selection of albums and songs that we’ll call the beginner’s guide to Wilco, chronologically ordered. By its end, you might find yourself to be a Wilco fan at heart (what the band is coincidentally trying to break — we’ll get to that part).

Summerteeth

Wilco’s third record, immediately preceding the turn of the century, not only presented a group beginning to crawl out of their shell but one that had begun to search for a sound to call theirs. Bordering the decade dominated by heavy grunge, the commercial embrace of Summerteeth didn’t so much reflect that we had become tired of Nirvana, Pearl Jam, and Radiohead (it’s hard to think of a Thom Yorke before Kid A, isn’t it?), but that we appreciated the pleasant treats of simplicity that Wilco had kept in store for us. Summerteeth commences so boisterously (“I Can’t Stand It”) that its flick-of-the-wrist transition to the smooth, psychedelic “She’s a Jar” still contains childlike wonder. If the self-deprecating “A Shot In the Arm” sounds heartbreaking, keep the record playing until “How To Fight Loneliness.”

Yankee Hotel Foxtrot

One of the seminal musical works of the decade. After a tumultuous period with their previous label, Tweedy and Co. parted ways (only half voluntary) with Reprise and attained the rights to their fourth album (without monetary compensation, mind you), inscribing a David and Goliath tale that, amazingly, uprooted the company’s creative stronghold and tossed it over onto the wrong side of history.

Foxtrot, deservedly,was almost unanimously recognized as a masterpiece; it can easily be hailed as a great Chicago album (the famous Marina City Towers cover), but Tweedy’s lyrics supersede any time or place. If Pet Sounds was Brian Wilson’s observation of adulthood through the eyes of a youth, Foxtrot was Wilco’s mirror image. The band didn’t know old age physically at the time, but gorgeous melodies such as “Jesus, Etc.” and “I Am Trying to Break Your Heart” boiled the essence of wisdom down to the innocent roots from which the value is grown. Listeners will not find an epic within Yankee Hotel Foxtrot, because it is not one; they will trace the arc of the casual yet intricate thoughts and emotions that make every day spent on Earth human. Those mysteries, however fundamental they are, cannot always be condensed into words, nor should they be in some cases. A great band (or artist of any kind) looks to express this definition through any media they can, and no one can doubt that Wilco, whether stylistically or spiritually, found theirs in Yankee Hotel Foxtrot.

A Ghost Is Born

Amounting to a knockout like Yankee Hotel Foxtrot is a hard thing to do, but when a follow-up as good as A Ghost Is Born is only barred by expectation, its reception can only be called unfair. Wilco’s fifth album is the forgotten gem in the group’s repertoire, a sprawling array of emotions and desires nearly as intricate as their predecessor (two songs on the record go over ten minutes). Even as Wilco grabbed two Grammy awards with the 2004 publication, A Ghost Is Born felt honorably humbling. If Tweedy’s lyrics studied inner conflict stoked by religion in “Theologians,” then “Wishful Thinking” sounds like hearing your own lonely echo in the Sistine Chapel.

An unsettling time for Wilco erupted shortly after — longtime, valued multi-instrumentalist Leroy Bach left the band, and Tweedy checked himself into rehabilitation for substance abuse. Just when the group had finally achieved their mainstream presence, the call for deconstruction arrived, one that the mature band was willing to accept. It was Tweedy who intended to push A Ghost Is Born as one of the most personal albums Wilco had put out; it would be a shame not to pair his voice with a listener.

Sky Blue Sky

Wilco’s return to Chicago for the recording sessions of Sky Blue Sky seemed to signify the continuation of the Yankee Hotel Foxtrot chapter, geographically and musically. Did the band shy from uncharted territory a little too easily? The optimist — for whom Sky Blue Sky provides the most enjoyable experience — would like to think that the record wasn’t vying for another tour de force. Its broad reach for a ray of sun on a cloudy day may be too apparent at moments, but the singer-songwriter intimacy shared among the best Wilco records stayed in tact for “Impossible Germany” and “Leave Me (Like You Found Me),” while hits were found in “Hate It Here” and the bubbly “What Light” (the latter affectionately used by and widely known from the recent Blue Cross/Blue Shield of Illinois commercial).

Wilco (The Album)

The band’s aptly named seventh album displayed Wilco in a new confident frame of mind, one that even the most successful bands covet — even if they had no longer been able to polish an instantly accessible work such as this one, they would still have had nothing left to prove in their already well accomplished career. It didn’t hurt that they were willing to justify that position; it’s fun to listen to them enjoy themselves on tracks like “Wilco (The Song)” and “You Never Know.” You almost forget the lead single on here is “You and I,” a fine duet with Feist.

Star Wars

Distinguished by its free-of-charge distribution (Wilco’s was a little more appealing than U2’s), Star Wars otherwise snuck subtly onto the music scene in 2015, a year replete with bright young alternative champions like Courtney Barnett and Tame Impala. That doesn’t mean it was any less challenging than anything Wilco had done; the album title alone (no connection to the popular film franchise) seemed a bit gutsy. Star Wars marked a radical detour for the aging band, showing that they could pivot elegantly about their experience. Nevertheless, it was experience they didn’t lose sight of as they stacked the full weight of their old-fashioned rowdiness behind rockers like “Random Name Generator” and “You Satellite” while still balancing their signature delicate touch (“Cold Slope”).

Schmilco

Proceeding the electric bravado of Star Wars, published merely a year before, Wilco dialed back with a sweeter Schmilco, tapping back into Tweedy’s earlier country and folk influences. The group placed their trust in a more fragile (and equivalently effective) production style and re-imagined a youth-like existence, equal parts dedicated to the acoustic cross country road trip and to carefree summer stargazing. “If I Ever Was a Child” contemplates the regret of never quite coming of age and holds a startling statement for a band that has always seemed wise beyond their years, while “Quarters,” true to its name, exudes the quaint, miniature payoff of finding some loose pocket change.

Taylor. In the music world, the first name that might come to your mind might be Taylor Swift or for an older generation, James Taylor. Perhaps it’s not Taylor Yacktman yet, but that’s okay. Still, an aspiring artist named Taylor Yacktman has the passion and dedication to become one of the most influential names in music in the near future. The fire behind her eyes and her unique blend of ingenuity, creativity, and pure energy in her sound are what sets Taylor Yacktman apart from the rest of the music industry.

As long as she can remember, Taylor has wanted to grow up to become an entertainer, whether it be as a singer, actor, or dancer. As a young girl up until this very day, Taylor has laid claim to big dreams for her life and has been persistent in sticking to that same vision and inspiration she fell in love with as a child. Big aspirations in life are common of young children, but unlike those her age today who have succumbed to jobs they don’t enjoy for the sole purpose of adding commas into their bank account, Taylor’s big dreams have stuck with her and allowed her to branch away from the “standard” path. Growing up in Lake Forest, the dream of becoming a performer or an artist is not the mainstream decision and are not universally accepted. In fact, the “practical” professions that result in the greatest income in the shortest time are favored and supported in a town that is conditioned to economic success and affluence. However, Taylor quickly discovered this as she was first shielded away from entering the music industry professionally at the mere age of 10. Although her parents were completely supportive of everything that Taylor did as an artist, her father wanted her to take the more traditional path of going to college and find a job in the business world to have her education to fall back on. Trying to be guided down the “traditional path” of society, Taylor was the little girl that gravitated towards the road less traveled.

“Ever since I was born I’ve believed that God wanted me to entertain, inspire, and impact people,” mentioned Taylor, describing her motives for her personal journey in music.”

As the young girl became older and started to grow up, her love for performing only began to resound deeper within Taylor in terms of directing her passions and attention. The high school years are emotionally and mentally tough for any teenager as social pressures become extremely prevalent and a whole new chapter in your life is opened. While the kids around Taylor were focused on their individual “cliques” and “looking cool,” and “fitting in,” Taylor was discovering who she was by immersing herself in every form of expressive opportunity the school had to offer, and that meant opening her personality to a variety of people. As Taylor put it, “[she] wanted to be friends with everyone because everyone has a story and can affect your journey in a positive way, whether you know it right away or not.”

She was never afraid of what people might think of her and focused on herself and her aspirations for life in the future. In high school, not only was Taylor was involved in chorus, but her main form of expression became dance. As her focus on performance became centered around dance, Taylor made the Varsity Dance Team at Lake Forest High School as a young freshman and eventually grew to become a captain as an upperclassman. With the countless performances on stages and competitions that her dance career provided, it was able to teach her discipline, leadership, and most importantly, how to entertain. From competitive dance, Yacktman learned a whole new approach to entertaining an audience and how to captivate them with her presence on stage.

From the life lessons and memories she made in high school, she moved onto college at the University of Colorado-Boulder to pursue her future career. During her college years, she traveled back and forth to Detroit to work with a producer where she learned how to write and produce her own music and ended up creating her first EP, Dare You To Love Me.

Performing in 15 different cities on a tour in China, to touring Chicago with Grammy winning musicians, starring in an off-Broadway Musical, to creating her newest album, Gypsy Queen, Taylor has made quite a name for herself. She is the girl that wants to experience everything and takes every opportunity presented to her to do what she loves most. No is not a word Taylor takes as an answer, she always works diligently to get the “yes” she hopes for by proving people wrong who doubt her.

Even with all that she’s accomplished thus far, it has in no way come easy for her. Starting from nothing, she continues to gradually work her way up a little more each day. Creating her career solely on her own means that she has to do everything alone in order to succeed, which can be both a challenging but immensely rewarding feeling. She’s had to work from the bottom, dancing and singing her way through commercials, performing at as many nightclubs as possible, while continuing to get rejections from countless people all at the same time.

The uniqueness of Taylor’s voice is what makes her stand out most, but not everyone is so accepting of something different. With a deeper, raspy voice paired with her high energetic enthusiasm, Taylor is not your typical artist and makes for an entertaining and emotionally powerful performance. Taking inspiration from artists such as Whitney Houston, Amy Winehouse, and Judy Garland, she incorporates a sense of emotional impact into her singing that easily captivates an audience. Going by the name Sashé Taylor, a name bestowed upon her by her mother and grandmother, she incorporates all forms of entertainment into her performances.

With a positive attitude, clear eyes, and a full heart, Taylor Yacktman has a lot going for her these days, and has even more positive light and opportunity shining in her direction for the future. She accepts the gifts and opportunities that the world gives her and embraces the rejections and disappointments that are thrown her way. Entertaining is what Taylor does best, and she easily captures the audience with her captivating stage presence and unique voice.

“I have been performing my whole life. It’s in my bones, even if tomorrow I end up going down a path I had never expected, this will always be so much a part of who I am.”

Taking life one step at a time, she cherishes every moment she has and lives life to the fullest.

The big dreams Taylor once had as a little girl are far from extinct as she continues and pushes every day to create new goals and pushes herself to satisfy the heart of the young girl in Lake Forest who fell in love with her dreams of entertaining so long ago. When asked where she sees herself in ten years’ time, Taylor sat back and reflected as a variety of different avenues opened up in her mind. With the spirit and perseverance that Taylor has, she is on her way to having her “big break,” no matter which unlikely source the opportunity stems from. Being an independent woman, Taylor’s success will be a result of her own individuality and under her own power, the only way Taylor knows how.

Taylor’s passion and dedication to following her heart is a rare kind these days, as often we try so hard to suppress our individuality to blend in the pack of the accepted. Taylor Yacktman should be a role model to take inspiration from for Lake Forest High School students, especially the young aspiring entertainers, singers, and dancers. Her independent career is not only something people should admire, but her advice is poignant for all of those who have a dream.

“Don’t be afraid of what people think. Have an awesome mindset with good intentions and go after it. More people will be on your team if that is how you look at your life and goals.”

So the next time you doubt yourself for a brief moment or even worse yet, if someone doubts you, you’re not alone. It’s happened to so many artists who broke the mold and persevered into the life they dreamed of. Listen to Taylor Yacktman and follow your dreams.

Many of you may know LFHS junior Max LaVitola as a fellow student, friend, or even as a lifeguard at the Lake Forest Club, but little know how talented he is musically. Outside of school, Max, the last of five LaVitola brothers to come through LFHS, spends hours perfecting music and making new beats, often mixing the genres of rap, contemporary pop, and house music. Some may be surprised to find out that Max has a true passion in mixing music while going by the name of @MaxLava on SoundCloud, a music sharing application. Not only is LaVitola great at what he does, but his appeal with a high school aged audience derives from his m mixture of pop, rap, and throwback hits into a “mash-up” style. His music is great for car rides, getting pumped up, or just hanging out with friends on a Saturday night. LaVitola’s music started to become heard around the school this year as an increasing amount of people reposted his music on their own SoundCloud accounts.

Senior Maggie Myles is a fan of LaVitola’s account and has reposted multiple tracks. “I think that his music is really good and I really like that one Justin Bieber mashup! I think he’s going to be a DJ and he should perform at Lolla next year.” But Myles is not the only student showering LaVitola’s mixes with adoration. Senior Megan Wardeberg added, “The first song I heard, I was stunned that it wasn’t professionally done. I thought it was Martin Garrix! Max’s music is really unique and he gets really creative with his sounds.” Just like Wardeberg, Brittany Theo agrees that Max’s music sounds as professional as some of his more famous contemporaries. For example, Theo compared him with recording artist Louis the Child. “I think it’s really cool how he has created this music and I think it sounds even better than the Louis the Child’s remixes personally.”

Since Max is a busy man these days like most of the students at LFHS approaching Finals Week, I got the chance to have an interview via text message to find out more about his music.

How do you feel about people in our school starting to know about your music and listen to it?

“Well, I never expected people to listen to it other than close friends. I was surprised when people started liking them and reposting them. It’s awesome how lots of people are enjoying it.”

When did you start mixing music?

“Last December, I downloaded a program called VirtualDJ and I started toying around with it and mixing songs. Then in, like, March, I got kind of bored so my friend and I went online and got the download of Logic X Pro and watched YouTube tutorials on how to make remixes and beats. Ever since then, I have just been having fun with it.”

Describe to me the process of making a mix

“Well, making a remix is very confusing through Logic X Pro, but when when I’m making mashups it’s just matching up BPM’s and stuff on VirtualDJ and I just try out lots of songs to see what songs work together.”

Do you want to have a future in this or is it more for fun?

“As I said before, I just started doing this for myself and for fun.”

Who is your greatest inspiration?

“My brother was a DJ in college so that was kinda cool. But, probably Louis the Child because they really just started making mixes in high school like me and then blew up.”

Which mix of yours is your favorite?

“I really like my last one with Kygo and J Cole.”

What should we expect next from you?

“Well, I just released some new music and I’m working on a John Mayer mashup right now.”

In addition to Max’s favorites, a few of my own selections are below:

“That Backseat Runaway”

“Icey Airplanes”

“Do You Remember”

“Never Be Like You”

Shoot Max a follow on SoundCloud at @Maxlava and repost your favorites!

Abél Makkonen Tesfaye, better known as “The Weeknd”, is one of the most well known, universally respected artists in the music industry currently. With him being featured in numerous popular tracks, it’s hard to find a song on the radio that he’s not in. Also with an extremely noticeable, high-pitched, beautiful voice–and his unique style of hair–he can’t go unnoticed. The Weeknd does not only fit in the hip hop genre, but can be considered as relevant in almost all types of music. He doesn’t have one predominant style he sticks to which only adds to his popularity.

It didn’t all come easy for The Weeknd. He was raised in Scarborough Ontario, a diversely multicultural neighborhood within the city of Toronto. During The Weeknd’s childhood, his mother would work several jobs to support the family, often as a nurse and caterer, while also attending night school. His father later abandoned the family, prompting The Weeknd’s maternal grandmother to care for him while he was young. He eventually began smoking marijuana at age 11, which became a gateway to harder drugs that he fell victim to. He has stated that the origin of his stage name was created following his own dropping out of high school in 2007, adopting the name “The Weeknd” after he and a friend left school one weekend and never came home.

The Weeknd’s rise to fame all started on YouTube. He anonymously uploaded several songs under the name “The Weeknd” and eventually started to get recognition for his work. He released three nine-track mixtapes throughout 2011: House of Balloons, Thursday, and Echoes of Silence, which were critically acclaimed. His sophomore album, Beauty Behind the Madness, became his first number one album on the Billboard 200. This album included the hits “Earned it”, “The Hills”, and “Can’t Feel My Face”, all of which became number one singles in 2014.

The Weeknd cites Michael Jackson, Prince, and R. Kelly as his main inspirations. He also said his high-flying vocal style was influenced by habesha singers like Aster Aweke. Tesfay grew up listening to a large variety of music including g soul, quiet storm, hip hop, funk, indie rock, and post-punk. The Weeknd’s songs are built around a fogged, crepuscular production, and feature slow tempos, rumbling bass, and forlorn echoes. His emotional lyrics often express feelings of hurt and incorporate sex, drugs, and partying. Hermione Hoby of The Guardian characterizes The Weeknd’s songs as “narcotised-slow jams”.

The Weeknds next album is scheduled to release November 25th under the title Starboy. Two songs from the highly anticipated project, “Starboy” and “False Alarm”, have been released as singles. According to a pre-order link on iTunes, the album will include 18 tracks.